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FIRST LOOK: Japan
FIRST LOOK: Japan SWEET BEAN An SAT 10/17 3:45 PM Japan • Director: Naomi Kawase EFSWEET1 Red bean paste is the filling in this poignant tale of life, compassion, and sweet endings. An uninspired red bean pancake chef is re-energized when a SUN 10/18 plucky septuagenarian’s irresistible homemade recipe makes his snacks a 4:45 PM local hit. Both characters use their creations, photographed in mouthwatering EFSWEET2 close-up, to rebuild from traumatic pasts. The latest from poetic Japanese auteur Naomi Kawase is a delectable philosophical dish. Japanese with subtitles. 113 min. THE EMPEROR IN AUGUST SUN 10/18 Nihon no ichiban nagai hi ketteiban Japan • Director: Masato Harada 1:45 PM EFEMP An intimate war picture, Masato Harada’s patient, understated period piece recreates the 24 hours leading up to Japan’s official surrender in WWII and the emperor’s resigned radio address to his people. Elegant shot framing captures the drawing rooms and negotiating tables where, 70 years ago, the most powerful men in Japan gathered to make a decision that would change the course of history. Japanese with subtitles. 135 min. KAKEKOMI SAT 10/17 Kakekomi onna to kakedashi otoko 3:00 PM Japan • Director: Masato Harada EFKAKE1 The latest from prolific writer-director Masato Harada (Chronicle of My SUN 10/18 Mother) is a beguiling character drama set during Japan’s Edo period. Three 7:30 PM women fleeing bad marriages find refuge at a monastery, one of their only outlets for obtaining a legal divorce. But just outside the gates, vengeful ex- EFKAKE2 husbands and the Yakuza lie waiting. -
Entretien Avec Tadao Sato Marie-Josée Rosa
Document généré le 23 sept. 2021 09:38 Ciné-Bulles Le cinéma d’auteur avant tout Entretien avec Tadao Sato Marie-Josée Rosa Volume 7, numéro 2, novembre 1987, janvier 1988 URI : https://id.erudit.org/iderudit/34516ac Aller au sommaire du numéro Éditeur(s) Association des cinémas parallèles du Québec ISSN 0820-8921 (imprimé) 1923-3221 (numérique) Découvrir la revue Citer ce document Rosa, M.-J. (1987). Entretien avec Tadao Sato. Ciné-Bulles, 7(2), 10–12. Tous droits réservés © Association des cinémas parallèles du Québec, 1987 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Entretien avec Tadao Sato Marie-Josée Rosa « La société • Les 15 films japonais inscrits japonaise est au programme à la recherche du onzième Fes tival des films du de nouveaux monde cette an objectifs. » née traduisent bien la variété du registre cinématographique au Japon. La Fonda tion Asie Pacifique du Canada et l'A.F.P du Japon nous ont offert une gamme de films allant du documentaire le plus cru. Armée de Dieu, en avant marche de Kazuo Hara. -
7Th Sakura Gala Toronto Japanese Film Festival
第7回桜ガラ 7TH SAKURA GALA トロント日本映画祭 TORONTO JAPANESE FILM FESTIVAL May 2015 2015年5月 Vol.41 Issue 5 1 2014 -15 JCCC Board of Directors In This Issue... President Gary Kawaguchi Past President/Advisor Marty Kobayashi VP, Heritage Jan Nobuto 2 JCCC Events VP, Management Ann Ashley Secretary Sharon Marubashi Treasurer Chris Reid 4 Toronto Japanese Film Festival Directors Ken Fukushima Anzu Hara 日 Chris Hope 7-8 Heritage & Sedai News Warren Kawaguchi Karen Kuwahara 系 Lorene Nagata 9 Gala News Christine Nakamura Cary Rothbart 13 Donations Ross Saito 文 Nao Seko Tak Yoshida 15-16 Moriyama Nikkei Heritage Centre Inscriptions 化 Advisors Mackenzie Clugston (Ambassador of Canada to Japan) 17-20 日本語紙面 Sid Ikeda Miki Kobayashi 会 Mickey Matsubayashi Steve Oikawa Connie Sugiyama 館 JCCC Foundation Chair Shari Hosaki Calendar of Events 役 JCCC Staff James Heron 員 May Executive Director Sat 2 Bazaar [email protected] 416-441-2345 ext.224 Sun 10 Kumihimo Workshop Kathy Tazumi 及 Mon 18 JCCC closed -Victoria Day Accounting/General Administration Manager Thu 21 Movie Night - Kanzaburo [email protected] 416-441-2345 ext.229 Sat 23 Karate Tournament Christine Takasaki び Sat 23 Karaoke Club Community Events Coordinator [email protected] 416-441-2345 ext.221 Mon 25 Manju Workshop Wed 27 Origami Workshop Haruko Ishihara ス Community Rentals Coordinator Sat 30 Sakura Gala [email protected] 416-441-2345 ext.228 Christine Seki タ Corporate Rentals/Programming and Business Development June [email protected] 416-441-2345 ext.231 Thu 11 Toronto JFF opening Sally Kumagawa -
Toronto Japanese Film Festival 2016
1 5% discount for JCCC members For Experienced and Professional Real Estate Service... Call Anytime... Absolutely No Obligation DAVID IKEDA Sales Representative bonni maikawa 416-234-2424 www.ikedasells.com Sales Representative 416-538-6428 Sutton Group Old Mill Realty Inc., Brokerage [email protected]/www.bonnimaikawa.com Sutton Group Associates Realty Inc.,Brokerage 416-966-9300 Advertise with us! Contact [email protected] or 416-441-2345 ext. 227 2 2015 -16 JCCC Board of Directors In This Issue... President Gary Kawaguchi Past President/Advisor Marty Kobayashi VP, Heritage Jan Nobuto 4 Upcoming JCCC Events VP, Management Ann Ashley Secretary Sharon Marubashi Finance Chair Chris Hope 6-9 Torono Japanese Film Festival VP, NJCC Miki Rushton VP, Marketing/Strategic Planning Karen Kuwahara 日 Directors Jonathan Carter 10-11 Heritage News Mark Hashimoto Kristin Kobayashi 系 15-17 Donations Christine Nakamura Dereck Oikawa Chris Reid 18-22 日本語紙面 Cary Rothbart 文 Ross Saito Nao Seko Peter Wakayama 化 Bob Yamashita Tak Yoshida Calendar of Events Advisors Mackenzie Clugston 会 (Ambassador of Canada to Japan William Hatanaka Sid Ikeda 館 May Sat 7 JCCC Bazaar Miki Kobayashi (in memory) Mon 9 Movie Screening – I am a Monk Steve Oikawa Sat 14 JCCC Karaoke Club Connie Sugiyama 役 JCCC Foundation Chair Shari Hosaki Mon 16 Manju Workshop Wed 18 Tattoo Exhibit Opens JCCC Staff 員 Thurs 19 Tattoo Exhibit Opening Ceremony James Heron Executive Director Sat 21 JCCC Karaoke Club [email protected] 416-441-2345 ext.224 Mon 23 JCCC closed –Victoria Day 及 Kathy -
Revista Destiempos N 43
Revista destiempos N°43 Revista destiempos Consejo Editorial Revista de curiosidad Cultural destiempos.com Año 9 N°43 Febrero- Directora General: Marzo 2015. Es una publicación bimestral gratuita editada por Mariel Reinoso I. Grupo Destiempos S. R. L. de C.V. Av. Insurgentes 1863 301B - C.P. (01020) Col. Guadalupe Inn, México, Distrito Federal. www.editorialdestiempos.com Directora y editora responsable: Mariel Comité Editorial: Reinoso I. Reservan de derecho al Uso Axayácatl Campos García-Rojas Exclusivo: N° 04-2013-101814413100-102 otorgado por el Instituto Nacional del (Universidad Nacional Autónoma de México) Derecho de Autor. Responsable de la Graciela Cándano Fierro última actualización de este número: Mariel Reinoso I. Av. Insurgentes 1863 (Universidad Nacional Autónoma de México) 301B C.P. (01020) Col. Guadalupe Inn, Alicia de Colombí-Monguió Del. Álvaro Obregón, México, D.F. (State University of New York, Albany) Fecha de la última actualización: Febrero 2015 ISSN: 2007-7483 Aralia López González Las opiniones expresadas por los autores no necesariamente reflejan la postura de (Universidad Autónoma Metropolitana) la editorial de la publicación. Ana Rosa Domenella Queda estrictamente prohibida la (Universidad Autónoma Metropolitana) reproducción total o parcial de los Sandra Lorenzano contenidos e imágenes de la publicación sin previa autorización de Grupo (Universidad Claustro de Sor Juana) Destiempos S.R.L. de CV Mariana Masera (Universidad Nacional Autónoma de México) ©Todos los derechos reservados. Pilar Máynez Título de Registro de Marca: 1424503 (Universidad Nacional Autónoma de México) www.revistadestiempos.com Antonio Rubial (Universidad Nacional Autónoma de México) Lillian von der Walde M. (Universidad Autónoma Metropolitana) www.revistadestiempos.com Revista destiempos N°43 Revista indexada en: Febrero-Marzo 2015 ISSN: 2007-7483 ©2015 Derechos Reservados Revista destiempos N°43 LA ELABORACIÓN DE LA IMAGEN DE SÍ A TRAVÉS DE LA ESCULTURA Y LAS CARTAS EN PLINIO EL JOVEN Norma H. -
The Western Screenwriter in Japan: Screenwriting Considerations in Transnational Cinema
The Western Screenwriter in Japan: Screenwriting Considerations in Transnational Cinema by Alexander McAulay Submitted in partial fulfillment of the requirements for a Doctor of Philosophy Faculty of Media and Communication Bournemouth University May 2017 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and due acknowledgement must always be made of the use of any material contained in, or derived from, this thesis. 2 Alexander McAulay The Western Screenwriter in Japan: Screenwriting Considerations in Transnational Cinema Abstract This PhD investigates the writing of a feature film screenplay for mainstream Japanese-language cinema by a British screenwriter. As a long-term resident of Japan with production credits in Japanese cinema, I have for many years been interested in how to write stories set in Japan that will appeal to domestic and international audiences. The study examines the challenges I face as a Western screenwriter writing a screenplay for Japanese cinema, and how those challenges inform my creative practice, bringing into being a screenplay that is intended to enhance screenwriting craft in mainstream Japanese cinema and provide new knowledge to transnational cinema and screenwriting research. The critical commentary that accompanies the screenplay takes a dialogic approach in practice-led research to explore how various issues emerge for the Western screenwriter in Japanese cinema. These problems are examined with regard to relevant theory, and contextualised in considerations of various films in Japanese-language cinema written by non-Japanese screenwriters. One salient issue is the application of the Hollywood ‘universal’ model of screenwriting to stories about Japan. -
Wolf Children
PRESENTS WOLF CHILDREN A MAMORU HOSODA FILM Running time: 117 minutes Certificate: TBC Opens at UK cinemas on 25th October Press Contacts Elle McAtamney – [email protected] For hi-res images/production notes and more, go to – www.fetch.fm To the children, a movie like a delightful, fun fairy tale… To the youth, to make raising children, which they have yet to experience, seem full of surprises and wonder… And to the parents, to let them reminisce about their children’s growth… I am striving to make an invigorating movie that satisfies the principles of entertainment. Mamoru Hosoda Director, screenwriter, author of original story INTRODUCTION The long-awaited new film by Director Mamoru Hosoda! Yet another movie that enthralls people of all generations!! In “The Girl Who Leapt Through Time” (2006), he depicted the radiance of youth in flashing moments of life. In “SUMMER WARS” (2009), he told a story about a miracle, of how the bond between people saved Earth’s crisis, and the film swept awards domestic and abroad. Mamoru Hosoda has become the most noted animation director in the world. Why do his works appeal to people of all generations? His stories are not about the extraordinary, and they are not about superheroes. Set in towns that could really exist, the main characters are surrounded by ordinary people and are troubled by slightly unique circumstances, which they struggle to overcome. Based on well-thought-out scenarios, these real-to-life stories are made into dynamic animation. That’s why the main characters seem so familiar to us and draw our sympathy, and we get excited watching how they fare. -
A TAKESHI KITANO FILM a BANDAI VISUAL, TV TOKYO, OMNIBUS JAPAN and OFFICE KITANO Production
A TAKESHI KITANO FILM A BANDAI VISUAL, TV TOKYO, OMNIBUS JAPAN and OFFICE KITANO Production IN COMPETITION JAPAN - 2010 -109 min - Color - Cinemascope - Dolby Digital WORLD SALES CELLULOID DREAMS CELLULOID DREAMS 2 rue Turgot IN CANNES INTERNATIONAL PRESS 75009 Paris Le Grand Hotel RICHARD LORMAND world cinema publicity T: + 33 1 4970 0370 entrance “The Cormoran” www.filmpressplus.com F: + 33 1 4970 0371 7th Floor - 45 La Croisette [email protected] [email protected] T: + 33 4 93 68 32 98 Tel : +33-9-7044-9865 / +33-6-2424-1654 www.celluloid-dreams.com F: + 33 4 93 68 36 49 Several subsidiary bosses gather at a lavish lunch with “Mr. Chairman,” the head of the ruling Sanno-kai crime organization which controls the Greater Tokyo area. Sanno- kai underboss Kato warns Ikemoto about his overt dealings with family outsider Murase, an old-timer with whom he recently made a pact in prison. In an effort to ease Mr. Chairman’s suspicions, Ikemoto asks fellow boss Otomo to do his dirty work for him by making a minor but obvious move against Murase. Otomo’s actions are the start of a ruthless series of conflicts and betrayals. Before long, several yakuza clans are out for blood in their constant battle for power and money. The rival bosses fight to rise through the ranks by scheming and making short-lived allegiances. In this corrupt world where there are no heroes, it’s Bad Guy vs. Bad Guy in a spiralling outrage of gang warfare… THE STORY ON YAKUZA FLICKS For a long time, I was often questioned why I made yakuza flicks. -
AMC River East 21 312-332-FILM
© Poster Design: Kuo-Crary Tsung-Hui 322 E. Illinois St. AMC River East 21 312-332-FILM Cinema/CHicago Presents 51st Chicago International Oct. 15-29, 2015 Fim Festival FESTIVAL AT A GLANCE chicagofilmfestival.com Clever - p. 17 The 33 - p. 12 Funny Girl - p. 20 Brooklyn - p. 15 A Perfect Day - p. 29 Carol - p. 16 Stinking Heaven - p. 31 Dheepan - p. 18 The Thin Yellow Line - p. 32 dAm I Am Michael - p. 23 Very Semi-Serious - p. 34 I Smile Back - p. 23 Walking Distance - p. 35 James White - p. 24 cMeY We Are Francesco - p. 35 Macbeth - p. 26 Bite - p. 15 All About Them - p. 13 Ludo - p. 26 Big Father, Small Father and Other Stories - p. 14 Other Madnesses - p. 29 Cuckold - p. 18 The Red Spider - p. 30 Neon Bull - p. 28 Tag - p. 32 tRiLe Orphans of Eldorado - p. 28 They Look Like People - p. 32 Tough Love - p. 33 Three Days in September - p. 32 XConfessions: A Conversation With Erika Lust - p. 36 sXy Why Me? - p. 35 CONTENTS 5 Welcome! 42 Travel Guide 7 Tickets & Passes 43 Hot Spots The Birth of Saké - p. 14 10 Opening Night 44 Education Program Breakfast at Ina’s - p. 15 11 Film Program Guide 45 Membership For Grace - p. 20 12-36 Film Guide: A to Z 45 Merchandise Open Tables - p. 28 Sweet Bean - p. 31 36 Closing Night 46-52 Daily Film Schedule 38 Industry Days 53 Film Index by Country fOd 39 Spotlight: Architecture 53 Film Index by Category 39 Panels & Tast of Cinema 54 Film Index by Theme 40 Short Films 55 Festival Partners BecaUse everYboDY loves movies! For over half a century, the Chicago International Film Festival has done our part to expand your cinematic horizons with entertaining, provocative, and illuminating selections from around the globe. -
Kinotayo 2013 — Section Classique — Retour Sur Le Film De
ittle Girl in Me” Film Partners L 2012 “The © nc. I pache A Film Partners © 2013 “The Great Passage” Film Partners Passage” 2013 “The © Great IES © 2012 L AN AN P JA 8e 3 > 21 © 2012 ÉDITION DÉCEMBRE 2013 第八回 JANVIER 2014 EN RÉGIONS Programme : 22 films dont 7 en compétition Rencontres avec trois réalisateurs FEstivaL Hommage à Yasujiro Ozu : 現 DU FILM JAPonais ses chefs-d’œuvre en couleurs restaurés ContEMPORain Documentaires : culture et société 代 Avant-premières : WWW.KinotaYO.FR WARA NO TATE de Takashi Miike OUtraGE BEYOND de Takeshi Kitano 日 Section classique : retour sur le film de gangster, un genre majeur du cinéma japonais 本 ” Film Partners 映 BLACK DAWN 画 © 2012 “ 祭 tory of Yonosuke” Film Partners Yonosuke” tory of S ueki Ressha Film Partners ueki Ressha A K © 2013 “ © © 2012 © Fidèle à sa volonté de vous faire voyager dans l’actualité MARDI 3 DÉCEMBRE 2013 À 20H du septième art japonais, le Festival Kinotayo, est CÉRÉMONIe d’OUVERTURE DU FEstivaL KINOTAYO 2013 e KINOTAYO 2013 heureux de vous présenter, pour sa 8 édition, 7 longs Avant-PREMIÈRE PARISIENNE métrages de grande qualité, produits et sortis entre AU GAUMONT OPÉRA PREMIER — 2012 et 2013, en sélection officielle pour l’attribution — des Soleils d’Or 2013. ÉDito Plusieurs réalisateurs viendront présenter leur ÉVÉNEMENTS film : Tatsushi Omori pour BOZO (2012), Shoji Kubota pour The Little Girl in Me (2012), et Shuichi Okita pour A Story of Yonosuke (2013). Parallèlement à la sélection officielle, Kinotayo proposera en avant-première au public parisien OUtragE BEyond de Takeshi Kitano. Suite indépen- dante d’OUtragE, ce film de gangster est un huis-clos féroce sur le monde de la pègre qui, fort heureuse- elluloid Dreams ment, ne manque pas d’humour… À cette occasion, C des films marquants de ce genre majeur au Japon sont © 2013 © proposés dans notre section classique initiée en 2012 : La pivoine rouge, Le cimetière de la morale et des œuvres comme Romance noire de Tatsuoki Hosono WARA NO TATE avec Koji Yakusho dans un rôle inattendu de truand en 藁の楯 (wara no tate) mal d’amour. -
Representation Or Misrepresentation? British Media and Japanese Popular 2014
Repositorium für die Medienwissenschaft Perry Hinton Representation or misrepresentation? British media and Japanese popular 2014 https://doi.org/10.25969/mediarep/15136 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Hinton, Perry: Representation or misrepresentation? British media and Japanese popular. In: NECSUS. European Journal of Media Studies, Jg. 3 (2014), Nr. 1, S. 89–108. DOI: https://doi.org/10.25969/mediarep/15136. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.5117/NECSUS2014.1.HINT Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0 Attribution - Non Commercial - No Derivatives 4.0 License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0 EUROPEAN JOURNAL OF MEDIA STUDIES www.necsus-ejms.org NECSUS Published by: Amsterdam University Press Representation or misrepresentation? British media and Japanese popular culture Perry Hinton NECSUS 3 (1): 89–108 DOI: 10.5117/NECSUS2014.1.HINT Abstract For thirty years products of Japanese popular culture, including comics and animated films, have been very popular in the West. This essay examines the British social representations of the Japanese and Japanese cultural products and contrasts them with the Japanese context in which they have been produced along with the Japanese representations within them. The British representations are shown to be based on a view of the Japanese as the cultural ‘other’ and Japanese cultural products as both different and at times transgres- sive. -
LANDA-DISSERTATION-2017.Pdf (4.978Mb)
The Dissertation Committee for Amanda Landa certifies that this is the approved version of the following dissertation: Contemporary Japanese Seishun Eiga Cinema Committee: Lalitha Gopalan, Supervisor Janet Staiger, Co-Supervisor Kirsten Cather Shanti Kumar David Desser Michael Kackman Contemporary Japanese Seishun Eiga Cinema by Amanda Landa Dissertation Presented to the Faculty of the GraduateSchool of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2017 Acknowledgements The dissertation process is always present and foreboding in one’s graduate career. An always looming presence, the first chapter is always theoretically sketched, perhaps even drafted, but the rest are generally to be filed under “fiction.” The same, of course, happened for me, and throughout this endeavor I have learned to draft, to re-read and edit, and most especially to never be afraid to start over. My primary goal was to hone my writerly voice, to elevate from description into argument and most of all, to slow down. Time and financial pressures are plentiful, and early in the writing process I wanted to rush; to achieve quickly what was later revealed to me something that could not and should not be rushed. I chose to write chapter by chapter as the films and genre categories presented themselves, allowing myself to enjoy each chapter’s research process in small achievable steps. Integral to this process are my co-supervisors, Associate Professor Lalitha Gopalan and Professor Emeritus Janet Staiger. In particular, I want to give thanks for Lalitha’s rigorous mentorship, guidance, and enthusiasm for this project and its films and Janet, a constant mentor, whose patience and attendance to both my writerly and emotional well- being will never be forgotten.